Tuesday, January 30, 2007

Previously Unreleased Soundtrack To All 16mm Film Reels Recorded OnJanuary 30 1969For The Beatles Rooftop Concert.Includes Excerpts, Warmups And Alternate Song SegmentsThat Have Not Been Released On Any Other Bootleg CDThe Beatles - 1969 - The Complete Rooftop Concert

The Rooftop SessionsThe Beatles were going to make a documentary film of themselves producing a TV show and writing a bunch of new songs for their next album, which was to be a return to their roots of the rocking days. This was probably inspired by the emergence of The Band, straightforward, downhome and everyone's favourite name to drop at the time.With a working title of "Get Back" rehearsals began at Twickenham studios on January the 2nd, 1969. The project quickly ran into trouble, George Harrison walked out after eight days complaining of continual criticism from Paul McCartney. However, he returned a week later. The TV show idea had to be dumped because they couldn't find a suitable location. They thought about hiring an ocean liner, but somewhere along the line that idea was also shelved, along with a number of other exotic suggestions. But it was John Lennon's suggestion to record a selection of songs in the controlled atmosphere of a studio.At this time, plans were made to turn the roof at No 3 Saville Row, the Apple Corps HQ, into a tranquil roof garden, and so Ringo Starr and Michael Lindsay-Hogg decided to take a look. It seemed ideal for what they had in mind.

The Beatles last ever public concert took place around mid-dayon Thursday January the 30thand lasted a full 42 minutes, and may well have gone on longer had it not been for the complaints of the neighbour, Stanley Davis. The wool merchant next door was not a Beatles fan so it seemed. He was quoted as saying "I want this bloody noise stopped. It's an absolute disgrace". But the banker, Alan Pulverness, at the end of the street was kinder, he said "Some people just can't appreciate good music".The film won an Oscar for best musical score and it was presented to Paul McCartney by non-other than John Wayne, Big Leggy.

But by the time it was premiered on May the 13th, 1970,The Beatles had split. The dream was over...

FUZZ!!!! This is a great comp for all the biker b-movie fanatics. This bootleg has been floating around for a while on file sharing programs, with a different and slightly more extended track listing than what can be found documented online.. But still good fun and now available to download!

Great tracks such as the timeless classic written and composed by Harley Hatcher, called Satan, off of Al Adamson's film Satan's Sadists ("I was boooorn... Meaaaaan.. By the time I was twelve, I was killing for Sataaaan!"). And the incredible psych-surf instrumental byDavie Allan & The Arrows called The Stompers & The Souls! Bust out your copy of Wild Angels and enjoy!

A Classic Motown Psychedelic soul album with one of the best singles ever "War"

In 1970, Motown producer Norman Whitfield was producing The Temptations' LP " Psychedelic Shack". When the LP was released, it contained the song " War". College students all over the country began to write to Motown about releasing the song as a single. This is during the time when young college students began to protest about the war in Vietnam. Motown decided not release the song on the Temps because of other plans they had for the group at that time.So Norman Whitfield asked Edwin Starr would he like to record the song. Edwin agreed because he hadn't recorded anything in over six months and was ready to get back into the studio. The song was released in the summer of 1970 and became an instant million seller. Edwin would go on to win a Grammy in 1971 for " War" for best R&B Male Vocal Performance.

War & Peace' is by no means a psychedelic soul album but a mixture of classic Motown uptempo songs in the same vein as his two sixties classic albums 'Soul Master' and '25 Miles'.The music itself speaks volumes and 'War & Peace' whilst featuring the 'new' sound of Motown at the end of the sixties still managers to capture the excitement of his output during the sixties. 'War' became an anthem in 1970 and whilst many believe the song was an anti Vietnam song, Edwin is on record as saying that the song was about the war in the university campus within the USA at the time, yet that said, the follow up to that ferocious call and reply plea 'Stop The War' DID have all the ingredients of an anti Vietnam plea, yet who could argue wit the man himself.Uptempo goodies are a plenty as he takes on the Johnny Bristol song 'I Can't Escape Your Memory' which he talks about on the aforementioned audio interview, but for many it will be his classic northern soul outing 'Time/Running Back and Forth' that many will rate as his best ever recordings and both are featured here. Cover versions of other Motown classics are included especially 'California Soul' and 'At (Last) I Found A Love' (also covered by Marvin Gaye) and his rendition of the BJ Thomas hit 'Raindrops Keep Falling On My Head' is actually soulful and a pleasure to listen too.

Recorded in February 1968. Originally released on Verve (8742). This is part of Verve's By Request series. Tony Scott introduced Western audiences to the minimalist pleasure of shakuhachi flute and Japanese kora on his 1964 album MUSIC FOR ZEN MEDITATION. Four years later, the jazz clarinetist came out with this deeply meditative duet with sitarist Collin Walcott. Each track explores a different theme of yogic philosophy. The playful "Hatha/Sun and Moon" pits the clarinet's lowest tones against the sitar's highest, suggesting the dynamics of yin and yang. "Samadi/Ultimate Bliss" is a slow, droning dirge that evokes the stillness of enlightenment. "Hare Krishna" is simply a Hare Krishna/om chant with simple sitar backing. This album will enliven any hatha yoga session, and sounds astonishingly fresh decades after it's first release.

Biography:Since leaving New York in 1959, Tony Scott (a top bebop-oriented clarinetist) has been an eager world traveler who enjoys exploring the folk music of other countries. Unfortunately, his post-1959 recordings have been few, far between, difficult-to-locate, and sometimes erratic, but Scott was an unheralded pioneer in both world music and new age.

Tony Scott attended Juilliard during 1940-1942, played at Minton's Playhouse, and then after three years in the military he became one of the few clarinetists to play bop. His cool tone (heard at its best on a 1950 Sarah Vaughan session that also includes Miles Davis) stood out from the more hard-driving playing of Buddy DeFranco. Scott worked with a wide variety of major players (including Ben Webster, Trummy Young, Earl Bostic, Charlie Ventura, Claude Thornhill, Buddy Rich, and Billie Holiday), led his own record dates (among his sidemen were Dizzy Gillespie and a young Bill Evans) which ranged from bop and cool to free improvisations (all are currently difficult to locate), and ranked with DeFranco at the top of his field.

Unfortunately the clarinet was not exactly a popular instrument in the 1950s (as opposed to during the swing era) and Tony Scott remained an obscure name outside of jazz circles. In 1959, he gave up on the U.S. and began extensive tours of the Far East. He played Eastern classical music, recorded meditation music for Verve, and, other than some brief visits to the U.S, has lived in Italy since the 1970s where he has sometimes experimented with electronics.~ Scott Yanow, All Music Guide

Philip Drucker, alias Jackson Del Ray, is a curious and somewhat mysterious figure whose music is undeservedly little known. Drucker was an art student who first came to most people's notice as a founding member of Savage Republic. The band was initially musically primitive, with frequently out-of-tune instruments backed by percussion as simple as Drucker pounding on a 50-gallon oil drum, but there were hints of Greek and Middle Eastern music in their sound. As the band matured, these elements became more pronounced, but so did the rivalry between guitarist Bruce Licher and Drucker over who was in charge of the band. A close associate remembers that virtually every rehearsal ended with a bitter argument, or at least with one member of the band sulking in a corner somewhere.

Drucker quit at least twice only to rejoin the band, and in 1982 he started a side project called Seventeen Pygmies with fellow Savage Republic alumnus Robert Loveless and drummer/vocalist Debbie Spinelli. The release of the Hatikva EP in 1983 showed that the new band was vastly more sophisticated than the old and gave a strong clue regarding the source of the more interesting elements in Savage Republic's sound. The Middle Eastern stylings on Hatikva are much more pronounced, and both the songs and arrangements are much more sophisticated. Seventeen Pygmies released two more full-length records, Captured in Ice and Jedda by the Sea, which gradually moved away from the folk influences and toward a soft, distanced, and melancholy sound. ~ Richard Foss, All Music Guide

Drucker and Loveless launched a side band, 17 Pygmies, to delve into lighter, more melodic music than Savage Republic. Retaining the group's tribal percussion and Arabic feel, they added electronic keyboards for Hatikva, an EP which crosses Emerson, Lake & Palmer's "The Sheriff," a spaghetti western soundtrack and a Caribbean rhythm fest. Only a thousand copies were originally pressed, but it was reissued by an Italian label. (Trouser Press)

Hatikva was 17 Pygmies' first release. It came out on Resistance label RR-0001), in 1983, in a limited edition of 1000 copies. Later (1988) reissued on the italian label Viva (REVI-003) again in 1000 copies and in 1995 on the Lazy Dog/Meshcalina Productions in Greece in a CD including Jedda By the Sea & Hatikva.Cover art by Robert LovelessHand Colored by The Pigs and Friends!!!Line-up: Jackson Del Ray, Michael Kory, Robert Loveless, Debbie Spinelli.

SIDE 1Lawrence of ArabiaChild BrideCheganca

SIDE 2To No AvailsVows

cover of the italian reissue

After a coincidental 17 year absence, Jackson Del Rey and Louise Bialik have revived the 17 Pygmies name, returning with a seasoned elegance, not a vengeance as might be expected from hints by both Del Rey's vigorous 2005 release I Am the Light and for a collective once noted as a reference point to a young Godspeed You Black Emperor.

In 2005 Philip Drucker released I am the Light as Del Rey & the Sun Kings, an album with some brutal in-your-face moments with rocking guitars and guttural vocals. It's the rare points of elegant beauty, however, like the instrumental "Rose Garden (for Saadi)" which are reminiscent of a song like "Kristalnacht" from Welcome, and perhaps it was the reception of a strong track like this which made him reconsider the 17 Pygmies thing. I'm glad he did. 17 Pygmies resurfaced in 2006 with a 7" single "Last Train"/"Mocha Polka." The A-side with its drum machine and synth recordings hints more to the pop aesthetics of Captured In Ice period while the instrumental B-side is a fiery accordion, clarinet, drum and string jam. 13 Blackbirds is far more subdued, graceful, and tender.

13 Blackbirds is the 17 Pygmies of Welcome, except there's no goofy interludes, Philip Drucker has reclaimed the name Jackson Del Rey and Jeff Brenneman (an original member of White Glove test) has joined Louise Bialik seemingly at the center of the group, once again joined by various other players of stringed instruments and singers. While first listens immediately demonstrate the fantastic piano, guitar, and vocal work, they also show the group's very calculated arrangement—like the organic/acoustic and unique soul mashing like Blood-era This Mortal Coil and Lovetta Pippen-era His Name Is Alive—subsequent repeat listens over time bring out the great strength in the songwriting. Songs like the simple guitar and vocal "Cras Amet" or the instrumental piano melody of "Ubi Sunt?" I can hear long after they're over while the string arrangement on "Lila Pausa" is out of this world. The vocals of the song "Lotus" are buried deep in echoes and reverb while prominent beats like some of the best Scala music from the '90s.

Packaged in a very Constellation Records-looking earthy gatefold cardboard sleeve, 13 Blackbirds is packaged with 13 Lotus, a CD of 13 remixes and reinventions of the song Lotus by various artists. It's filled with a couple beat-friendly takes, like the "Bum 'n Bass Drop" version by Freakshot and the hip-hop "Notorious P.Y.G." version from once 2Pac remixer Lea Reis. Jo Gabriel's sparse piano version is probably the most striking while Echo Wanderer give two echoey versions which are a throwback to the spacey dub/rock overlap that signalled the untimely end of shoegazing in the mid-'90s. It's a complete contrast to 13 Blackbirds but nothing is surprising me about 17 Pygmies now that they've surprised us all by their return.

I'm excited that 17 Pygmies have returned. In an effort that isn't unlike their Welcome album, 13 Blackbirds/13 Lotus is quite ambitious. The payoff here I feel is far more enjoyable, however. If anybody's wondering where Debbie Spinelli ended up, her creepy group the Spirit Girls also have a release on the Trakwerx label. I hope that with this Trakwerx label the 17 Pygmies back catalogue will become available again, but as the notes say in the sketchy looking 1995 CD of Jedda By the Sea/Hatikva, my guess is that some of those masters are long lost. Of course, you could always try digging around auction websites for this stuff but with the recently re-sparked interest in Savage Republic, the competition for this stuff will be fierce. With any luck 17 Pygmies are forming some sort of live ensemble, and in the age of myspace, they seem quite approachable and amicable, so a letter campaign to them probably can't hurt. (Written by Jon Whitney)

The Attack (thanks to an ever growing legion of collectors dedicated to the vibrant sound of mid- to late-'60s Swinging London) have a far larger fan base now than they ever did during their existence. Indeed their unique brand of guitar-heavy, mod-rock qualifies them as one of the finest examples of (the over used term) freakbeat. Hence over the last 15 years there has been an abundance of vinyl bootlegs and inclusions on such psychedelic/freakbeat compilations as Rubble! The founders Richard Shirman (the only original member to stay with the group throughout all of the lineup changes) and Gerry Henderson were originally in a group called the Soul System, whom, for the best part of a year, had a very unstable lineup. In early 1966, the remnants of the crumbling group were joined by Bob Hodges on organ, David John (not David John of David John & the Mood, but Davy O'List under alter ego) on guitar, and Alan Whitehead (on loan from Marmalade) on drums.

They soon came to the attention of entrepreneur (gangster?) Don Arden, who then signed them to Decca and changed their name to the Attack. Their debut single released in January 1967 was an extremely anglicized cover of "Try It," an American hit for both the Standells and Ohio Express, whose versions were exemplar of the sneering garage sound. However, the Attack's powerful vocals, pop art guitar, and the underbelly of a warm Hammond created a similar atmosphere to the Small Faces (also managed by Don Arden), the Birds, and the Creation.

Shortly after the single was released, Davy O'List was handpicked by Andrew Loog Oldham to join the Nice (who were to act as the backup group for newly acquired American Soul singer P.P. Arnold) and quit the group in late February. Meanwhile, Shirman, a regular visitor to the London clubs had been keeping a watchful eye on a young guitarist he had seen jamming with Jimmy Page. Shortly thereafter John Du Cann (mainstay, and songwriter) was introduced into the group. As a follow-up to "Try It," a version of "Hi-Ho Silver Lining" was then released, but Jeff Beck got the hit first in Britain in 1967. The third 45, "Created By Clive"/"Colour of My Mind," backed a foppish sub-Kinks-style number with a fairly groovy mod-psych tune penned by DuCann. Kenny Harold (bass) and Geoff Richardson (guitar) left shortly after the disappointment of "Created By Clive," leaving John as the only guitarist. Jim Avery (who later went on to the revolutionary Third World War) was drafted in on bass, with Plug (whom later went on to Welsh acid rock outfit Man) still on drums. After yet even more disappointment surrounding the "Magic in the Air" single (Decca refused its release on the grounds of it being too heavy), Plug and Jim Avery left the ranks to be replaced by Roger Deane (bass) and Keith Hodge (drums).

The final single, released in early 1968, was "Neville Thumbcatch," a fruity mod-pop tune with spoken narration, like a lesser counterpart to Cream's "Pressed Rat and Warthog." Decca's deal with the Attack expired after that single, with a projected fifth 45, "Freedom for You"/"Feel Like Flying," remaining unreleased. Both sides of that single, as well as seven Attack demos recorded around that time, are included on Angel Air's CD reissue of the rare 1968 album by the Five Day Week Straw People, a studio-only outfit that was led by DuCann.

DuCann became the dominant creative force in the group prior to their 1968 breakup, and the likes of the unreleased "Mr. Pinnodmy's Dilemma" and "Strange House" showed the group developing a heavier rock sound, although still maintaining a sense of British mod-psych whimsy. DuCann would continue to explore a heavier direction with his subsequent group Andromeda, and joined Atomic Rooster in the '70s. ~ Jon 'Mojo' Mills, All Music Guidelisten to the attack here :http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=49065195

Sorry for bad 128kbps rip but is not mine.I request all of you if you have it at higher bitrate, thank you!

Meanwhile, Play THIS stuff VERY VERY LOUD!

The Bruthers:The Bruthers were actually real brothers: Alf Delia (who wrote most of the original material they recorded, including "Bad Way to Go"), Frank Delia, Mike Delia, and Joe Delia. The Pearl River, New York quartet had started performing in the early 1960s, and by the mid-'60s hooked up with manager Sid Bernstein, who also handled the Young Rascals and the Blues Project (as well as promoting mid-'60s New York City concerts for the Beatles). The single made no commercial impact, depending upon revival from garage collectors to reach a bigger audience, starting with its inclusion in the Pebbles series, and culminating with a full CD on Sundazed in 2003 that matched both sides of the single with RCA outtakes and some demos from 1965 and 1967. After the Bruthers broke up in 1967, keyboardist Joe Delia went on to play as a sideman for numerous acts, playing and arranging David Johansen's 1987 hit "Hot Hot Hot," and scoring many feature films, documentaries, and TV series. Guitarist Frank Delia eventually directed videos for the Ramones, Wall of Voodoo, and Jefferson Starship, as well as some episodes for television series. ~ Richie U.

This is a straightforward, filled-to-the-gills 25-track best-of for the band remembered by most listeners only for its big hits "Western Union" and "I See the Light." Actually, they released a lot of records during the last half of the 1960s that reveal them as a versatile, polished, yet often derivative group. They were best when putting a thumping beat to accomplished harmonies, catchy pop/rock melodies, and rolling high organ playing, as exemplified by "I See the Light" and "Western Union." They never did come up with other songs as catchy as those, and the other songs on this anthology find them combining lots of influences: Midwestern frat rock, Beach Boys and Association harmonies, and British bands like the Beatles and (on "The Losing Game" in particular) the Zombies. Sometimes the derivativeness comes perilously close to imitation. The folk-rock of "Sympathy" almost duplicates the melody of the Statler Brothers' "Flowers on the Wall" in places, "I Know They Lie" is a little-known lightweight Byrds sound-alike, and "Don't Blame Me" sounds like a tough American garage take on the Dave Clark Five. Their small 1967 Top Forty hits "Sound of Love" and "Zip Code" are here, as are two previously unissued songs of minor interest, "You Can't Win" and "Letters, Pictures, Melodies." Incidentally, this is not merely an expanded version of the 20-song best-of (Western Union) issued on same label (Sundazed) in 1989, 13 years before The Best of the Five Americans. Though five songs shorter in length, Western Union has a half dozen tracks that don't show up on The Best of the Five Americans. More surprisingly, the liner notes, while comprehensive in both CD packages, might be preferable in Western Union, which goes into much more extensive detail on specific songs.

May Blitz (alongside Rory Gallagher's Taste) were among the first of the newly formed hard rock power trios to take up the challenge of Cream and the Jimi Hendrix Experience; that is, making the biggest possible noise with the smallest available lineup, but never losing sight of melody and finesse while they did so. Certainly anyone catching their early live show was guaranteed to leave with their ears ringing but their brainbox humming, and the band's debut album was a seamless reiteration of their in-concert impact, all the way down to the extended riffing and miniature solos. May Blitz's strongest point, in terms of audience recognition, was drummer Tony Newman, and fans of the jazz-inflected style that he injected into the Jeff Beck Group certainly won't be disappointed by what they find here — indeed, with guitarist James Black beside him, it's not difficult to compare May Blitz to the Beck band's Beck-Ola, and find the better-known disc come up wanting every time. The epic "Smoking the Day Away" kicks things off in dynamic form, laying down the grinding, almost proto-metallic assault that was May Blitz's raison d'etre; later in the set, "Dreaming," "Virgin Waters," and "Squeet" all howl with a vengeance that might sound a little old-fashioned today, but was breathtakingly fresh at the time. Even better is "Fire Queen," which essentially blueprints the best parts of every metal act from Judas Priest to the Cult, except it doesn't hang around long enough to spoil the effect. Rather like May Blitz themselves, in fact.

Apparently a limited edition private pressing and difficult to track down - you've probably already guessed that it may be a little bit Hendrix inspired! Well "Fire" is the only cover version on here... and it's a Jimi Hendrix number!

01 Introduction (3:03) 02 March of the Flower Children (1:45) 03 Travel With Your Mind (3:00) 04 Out of the Question (3:02) 05 Painted Doll (3:20) 06 Flower Lady and Her Assistant (3:15) 07 Now a Man (3:20) 08 Thousand Shadows (2:25) 09 Two Fingers Pointing on You (3:10) 010 Where Is the Entrance Way to Play? (2:55) 11 Six Dreams (3:05) 12 Fallin' (7:40)

The "A Thousand Shadows" 45 rpm from this album, Future, came in a pink sleeve decorated by gray four-leaf clovers and a negative picture of the Seeds next to a sign that says "Wishing Well - Help Us Grow." "A Thousand Shadows" is the melody as well as the feel of their Top 40 1967 hit "Pushin' Too Hard." Breaking no new ground, the band insisted on revisiting its formula, reinventing new versions of "Pushin' Too Hard" like "Flower Lady & Her Assistant." This is a sophisticated package with a gatefold which includes lyrics over pastel sunflowers as if the band was Joni Mitchell. Three colorful pages come inside the album, including two beautiful photos of the group along with single flowers representing the songs on the disc with instructions: "Cut out paste on whatever" for grade schoolers or those so strung out on LSD they have regressed to that point. "Six Dreams" is Black Sabbath's Ozzie meeting George Harrison in some biker film soundtrack with weird sound effects and a sitar. The harp on "Fallin'" underscores Saxon's passionate garage vocal. Imagine, if you will, Brian Jones during the recording of Satanic Majesties deciding to bare all the excesses of rock stardom.

This album is a trip, not because it reflects the ideas captured in the Peter Fonda film of the same name, but because a band had the audacity to experiment with record company money and make something so noncommercial and playful. Droning organ sounds penetrate "Fallin'," the seven minute, 40 second final track. Saxon writes in the inner-sleeve essay "Originations of the Flower Generation" "...The farmer lives by the elements alone, the sun, the rain, and the earth, but the earth needs its seeds to sow the flower generation of the leaf...." It's heady stuff, and the melody and sound of "Pushin' Too Hard" permeates incessantly. Hardly a Future, as the title proclaims, this is actually the Sgt. Pepper of the flower-power set, a reinvention of past efforts, but no "Strawberry Fields" or "Day in the Life" to bring it out of its cult niche.

Very listenable, highly entertaining, and totally not for the mass audience. GNP stands for Gene Norman Presents, and the label should be commended for allowing such creativity which inspired Iggy Pop and the Lyres' Mono Mann. Saxon played his game to the hilt, and that followers like Mono Mann and Jeff Connelly would get stuck in his groove is only testament to how original and enthralling these sounds are. Tunes like "Now a Man" are low-key Ventures riffs with naïve guitar and Saxon being as indulgent as humanly possible. Fans should also seek out a 45 on Expression records, "Beautiful Stars" by Sky Sunlight and Thee New Seeds featuring Rainbow. Despite its musical limitations, Future holds up quite well to repeated plays by sitting firmly in the past. ~ Joe Viglione, All Music Guide

Review:The Seeds were an exceptional band that never achieved the success that they inspired. This album has a truly psychedelic cover with too-dark-for-pastel colors, swirling letters over eerie faces, and dynamic black and white photos on the back. If you want to see the image of Iggy Pop clothed, just look at Sky Saxon in the bottom right photo on the back cover with the screaming girl holding a flower grabbing at him. He had the image down, as well as the music. "900 Million People Daily All Making Love" sounds so much like the Doors and Jim Morrison's "When the Music's Over," one has to wonder which came first, or did they copy each other? "Mumble and Bumble" is a trippy "Alabama Song," but where Morrison is looking for the next whiskey bar, Saxon is off looking for flowers and magic mushrooms. The band has great energy which is pierced by annoying canned applause à la the Rolling Stones' Got Live If You Want It. This is a record album, not a situation comedy TV show, after all; what's the point of overdubbing an audience onto what is really good music? Sure, "No Escape" is a prelude to the closer and hit "Pushin' Too Hard" with a tip of the hat to Martha & the Vandellas, while "Can't Seem to Make You Mine" is placed nicely in mid-set, a song after the truncated "Up in Her Room." The revelation that is this "concert" album is what a great band the Seeds really were, and how Sky Saxon's vocals have a gritty edge that he held back on us in many of the studio recordings. "Gypsy Plays His Drums" has a great chug-chug guitar, nice off-key backing vocals, and a driving pulse which is present throughout the performance. If you can ignore the extraneous additions, a song like "Forest Outside Your Door" shows really how creative and influential this pioneering band was, while "Satisfy You" is Saxon's direct sexual rock to Mick Jagger's "(I Can't Get No) Satisfaction." Sky claims he can get satisfaction, and can satisfy you at the same time. He then veers off into more familiar psychedelic territory with "Night Time Girl" which combines the sex and the psychedelia. If they taught rock & roll in school, "Raw & Alive" would have to be the textbook for image, design, and content. ~ Joe Viglione, All Music Guide

The Head Shop is a psychedelic rock band from New York that released one eponymous album on Epic Records in 1969. According to promotional material for the album, the band performs "9 musical chapters that will lead you into new musical and audiophile dimensions of psychedelic art of music". A commercial ad in New York's Screw magazine was blazoned with: "Do You Want Head? Blow Your Mind with the Head Shop Album!" The music features fuzztone bass and guitars, Farfisa as well as Hammond organ, and unusually soulful vocals for this type of music.

The album was produced by Milan, and the associate producer is Maxim; they are also listed as the songwriters on the original songs, which include "Listen with a Third Ear", "Heaven Here We Come" and "I Feel Love Comin' On". Larry Coryell, a respected jazz guitarist is a "guest musician" that provides a guitar solo on one track, "I Feel Love Comin' On". Coryell's debut album on Vanguard Records was also released in 1969.

Side 1 ends and Side 2 begins with two extremely familiar Beatles songs, "Yesterday" – reminiscent of the Deep Purple cover of "Help!" – plus a propulsive rendering of "Revolution". "Yesterday", along with an original song called "Where Have All the People Gone", are combined into "Opera in the Year 4000" that may function as a commentary on the state of the music world at the end of that decade: even if all the people are gone in two thousand years, the then omnipresent Beatles standard would still survive. The album also includes a melancholy version of another hit song of the period, "Sunny" by Bobby Hebb. Like "Yesterday", hundreds of other cover versions of "Sunny" are extant, but not like this.

The album cover feature a swirling group of multi-colored (and numbered) boxes that surround a black-and-white image of a shrunken head. The back cover is mostly black with minimal copy but also shows a shot of the band lit from beneath.

One recent reviewer describes the music as "a demented fusion of ’69 era heavy psych and ’66 era garage punk" [1]. An anonymous fan called this "a very special album" and cited influences on the album ranging from Arthur Brown to James Brown, and, regarding the "Revolution" cover: "The original idea was to mix Beatles with contemporary music (Schönberg and Mahler) into a new trip of music, making new music in a true ‘progressive’ edge." [2].

Although the band is obscure by any standard, The Head Shop is probably the best known and one of the last of the many projects masterminded by Milan, an enigmatic music industry professional who produced and performed on a variety of recordings released in the 1960's. Virtually all of the Milan projects, including The Head Shop are highly sought collectors' items, and original sealed copies of the Epic album surface occasionally.

The album has been reissued on two different German labels, Synton Records in 1998 and World in Sound Records in 2004. The latter reissue includes 7 bonus tracks, along with a copy of the 1969 Screw Magazine ad. The bonus tracks run the gamut from folk to flower power to psychedelic pop and include songs by Household Sponge (the predecessor band to The Head Shop), Licorice Schtik (a band being promoted by Maxim in the same time period), and other earlier Milan projects including The Aladdins.

Track List:01 Don't Need Your Lovin'02 No Way Out03 It's All over Now, Baby Blue04 I'm Not Like Everybody Else05 Misty Lane06 Loose Lip Sync Ship07 Are You Gonna Be There (At the Love-In)08 Gone and Passes By09 Sitting There Standing10 She Weaves a Tender Trap11 Sweet Young Thing12 I Ain't No Miracle Worker13 Blues Theme

The Chocolate Watchband were one of the most important garage bands of the '60s, which makes the lack of an in-print anthology of their work all the more puzzling. Sundazed has released their three albums with copious bonus cuts and Rhino had a nice compilation in the early '80s, but is now out of print. 44 is a decent overview of their best cuts, including the rare singles released as the Hogs. ~ Brian Downing, All Music Guide

Biography:The Chocolate Watchband never charted a record nationally. Indeed, ask most casual 1960s rock fans about them and you'll probably get little more than a blank stare. Most will remember their AVI Records labelmates the Standells more clearly, because they actually managed to chart a few singles. Alas, the Watchband had the disadvantage of being a punkier band than the Standells, and suffering continual lineup changes. The Chocolate Watchband was a mod-outfitted garage punk unit par excellence, their sound founded on English-style R&B with a special fixation on the Rolling Stones at their most sneering. After hooking up with producer Ed Cobb, a former member of the 1950s vocal ensemble the Four Preps, the group released No Way Out in mid-1967, though the Watchband had already begun breaking up. A new incarnation carried them through 1967, though the band's existence as a viable performing unit were all but over. The group's producers had other ideas, however, releasing two more albums (The Inner Mystique, One Step Beyond) in 1968 and 1969 , sporting the band's name but not too much else associated with the group. That would probably have been the end of the group's story, but in the early '80s, record buyers and, more particularly, young musicians discovered the Watchband. A set of Australian reissues of the group's albums quickly found a market in America and Europe. Thus, it was no surprise when, in 1994, Sundazed Records reissued the complete Watchband catalog on compact disc. ~ Bruce Eder, All Music Guide

Guana Batz is one of the Psychobilly scene's most successful bands. The Guana Batz formed in 1982 and their aim was to play high octane rock n´ roll and rockabilly 50´s based music with a rebel attitude, which was started by the greats, such as Elvis and Jerry Lee Lewis among others.

One of the pioneers of the Spanish Progressive, in the vein of the psychedelic-prog ambience. A band with a high instability in its line-up that didn't let it to become an important one. J.J. Iglesias (Revista Atropos)Spain isn't the first place you think of for psychedelic gems, and especially not during the Franco regime, but Pan & Regaliz pulled off such an album, in 1971, during Franco's regime. This album was thought of as sounding like Jethro Tull's Stand Up under the influence of acid.Strange psychedelic sounds can be heard in the background to many of the songs. And while released in 1971, the music has a more late 1960s feel. All the vocals are in English. Some of my favorites include "I Can Fly", "One More Day", "Today, It's Raining", "Waiting in the Monster's Garden", and "Thinking in Mary". A wonderful album that really took me be surprise. Also, this album is very rare and collectible, but if you can track down a copy, you too will be pleasantly surprised. The first incarnation of Agua de Regaliz released a first single with the historic Els 4 Vents. Then, they decided to sign a better contract with Dimension label and change the name to "Pan" and eventually to "Pan & Regaliz" for the people to identify them with the first band. They had contract problems with the label but that was not a problem to record and release their only long play "Pan y Regaliz, featuring now Pedro Van Eeckout on drums. They recorded eight songs in english in a progressive psychedelic style, very unusual in Spain. Songs like "Dead of love", "Thinking in Mary" and "A song for a friend" were made thinking of a single in the purest psychedelic pop style with Jethro Tull touches. But songs like "One more day", "When you are so bring down", "I can Fly" and the experimental ones like "Waiting in the Munster's Garden" and "Today it is raining" make this record highly recommendable. e special touch of Guillen Paris on flute and the way that he modulates his voice, in addition to the excelent contributions of the other muscians, make this record one of the best in that time, and it has nothing to miss from any Krautrock or English prog band. Manuel Dachada

This is another long OOP Lp from Voxx, that never reissued. Recorded in Albuquerque, New Mexico and released in 1985 from Voxx (and Lolita in Europe). The band (never seen performing live, as mentioned in "Knights of Fuzz") maybe had the "curse of Voxx" i.e disbanding right after the release of their album, or maybe was an one-off only project.The album kicks off with "Fly Tonight", a crazed garage track, followed by the 6 minute-long title track, which speeds up and slowes down, complete with an eastern scale solo from the Vox organ of the leader Bob Fountain. The highlight is "She's so wild", another speeding-slowing track, with a superb guitar-organ dialogue. The speedy instrumental "Go-Go 85" closes the a-side. The b-side runs in the same vein with 3-minute songs, delivered straight from 1966, full of teenage fever and naive lyrics, with "Tell me why" and "One Last Kiss" outstanding, and closes with the calmed-down "Bittesweet", up-lifting, almost pop-psych tune that features a nice guitar solo.To my ears, this one stands side-by-side with the teenage garage anthems of the Pebbles or the Moxie records, which apparently the band had studied very well, alongside with the ? and the Mysterians. Its garagey, vox organ-dominated sound, the tempo changes and the very american backing vocals are refreshing enough for me.

At the top of this post is the Lolita cover and right above is the Voxx cover

P.S. Although I don't post something already posted, I made an exception for this: It was posted in July 2006 in the TwilghtZone blog. Not only the link is long gone, but my dearest RYP has posted a review from an (Amazon?) listener, that totally dismissed it as "80’s retro garage band who if they had heard The Fuzztones, The Morlocks or Plan 9 before going into the studio they would have realised they were in the wrong job". Well, this record slipped in my head in a summer night of 1985 and it's there since then. I felt that I ought to give it a chance.

With co-founding member Anshu Asthana (currently a London based freelance designer), and exploding from a fluctuating free-lifestyle awash with entheogens, the band crafted their sound based upon their love of far out 60s psychedelia, contemporary psych-miscreants, mycology, and studio trickery. Gigs in Manchester (UK) caught the ear of local music legends John Squire (Stone Roses) and Clint Boon (Inspiral Carpets) who offered guidance on the golden road (to unlimited devotion). A lovingly crafted demo tape was recorded in 1996, capturing the attention of respected the Ptolemaic Terrascope magazine. A feature article and tracks for consecutive Terrascope 7" releases releases - "Old Guy" and "A Puce Moment" (the latter a cover of the legendary Hermit by Kenneth Anger soundcraft wizard Jonathon Halper) led to a hasty assembled private issue of the band's tunes. Despite being considered a 'demo' (with a view to re-recording with better equipment at a later date) the album was well received in the underground scene and "The Whole" was included on the Camera Obscura compilation Serotonin Ronin II). An EP, Double B Side, was recorded for Earworm records, gaining national airplay on John Peel's Radio 1 show.

Partly due to disillusionment with the Lazily Spun's slow progress, internal tensions, and challenging life events, the original band slowly dissipated. Harry moved cities to Liverpool in order to pursue (and complete in 2002!) a PhD in the psychopharmacology of MDMA, and all seemed lost. Matt resolved many complications by laying down tracks that were to form the backbone of the new Lazily Spun sound. Reconnecting with Harry, the band rehearsed songs with new members until settling with the current (perfect!) line up. James and Juan were both Liverpool based musicians playing and recording with the Living Brain, Vitamina, and Hand Museum. (Sidebar: Harry joins James in Zukanican, a dense free-form outfit dripping with klanging Krautrock influences - debut release expected on Pickled Egg records in late 2002/early 2003).

Photo Scott SterbenzFrom original demos to final mixdown The Lazily Spun's debut album was assembled over 3 years and released on Camera Obscura in March 2003. Some sound samples date back to the first phase of the Lazily Spun and the album features all key members of the band's history in some sonic shape or form. Songs were recorded at Matt and Harry's PC based home-studios (Manchester & Liverpool), Testa Rosa studios (Manchester), Elevator Studios (Liverpool) and Living Brain rehearsal studio (Liverpool).

Their name derives from classic experiments performed in the 1950's whereby flies were injected with various drugs (mescaline, cannabis preparation, LSD, and caffeine) and then fed to the spider Zilla-x-notata Cl. The subsequent webs produced by the spiders were then analysed. LSD and mescaline webs looked as if they were "lazily spun" (!).

“The GoldeBriars”--An innovative folk-pop-rock group of the 1960s... On the Brink of Success…Starving, Laughing, CryingTheir important role in the Birth of Sunshine PopYou have now beamed yourself back into the 'Sunshine pOP' era of the sixties where you will get to know THE GOLDEBRIARS, a 1960s group who recorded 41 songs with Epic Records & with two released albums: "The GoldeBriars" & "Straight Ahead!"

The Goldebriars made a couple of obscure pop-folk albums for Epic in 1964. The group is notable not for their pleasant yet lightweight music, but for the inclusion of a few members who subsequently went on to much more significant projects in rock after the band broke up. The most prominent of these was Curt Boettcher, producer and performer of some of the most highly esteemed California sunshine pop of the '60s with the Association, Sagittarius, and the Millennium. Future Music Machine drummer Ron Edgar was also in the Goldebriars briefly in their final days, although he did not play on either of their albums. Vocally, the Goldebriars were built around two sisters, Dotti Holmberg and Sherri Holmberg. At one point, the Goldbriars had three women and Boettcher singing, which, according to the liner notes for their second and final album, "made the group sound very much like the Lennon sisters doing work songs." That's not the kind of selling point anyone would want to push too hard and the non-sister female vocalist left the group, though that might not have corrected the female-male imbalance too much, given Boettcher's own higher-than-average male vocals. Boettcher played guitar and arranged for the Goldebriars, and some hints of the stratospheric vocal blends he would specialize in on his later pop/rock productions can be heard in the group's harmonies. The two Goldebriars LPs, however, are twee period commercial folk music from the tail end of the folk revival, the vocals and arrangements sounding inventive at times, but gratingly precious at others. As was often the case on such folk-pop efforts, there was an almost desperate variety show eclecticism of repertoire, including original material, ethnic songs, protest tunes, traditional folk songs, and spirituals, given a somewhat whitebread treatment. As some other obscure circa 1964 LPs did, there were oh-so-vague hints of a rock rhythm on some of the Goldebriars' material, particular on their second album, Straight Ahead!, which actually had some lightly stroked drums. Ron Edgar has recalled that Boettcher wanted to make the Goldebriars an electric folk-rock group, at a time when the Byrds' "Mr. Tambourine Man" had yet to become a hit and codify the style. In fact, toward the end of their life, the group did have an electric bass player, lead guitarist, and drummer (Edgar), and made an unreleased album using electric rock instrumentation. Until or unless that material gets released, however, it won't be possible to judge how innovative that incarnation of the band was. After Edgar left the Music Machine, he did collaborate with Boettcher again on recordings by the Millennium and Sagittarius later in the 1960s.

Rising from teen girl band ashes known as the Tremolons, guitarist-gal rocker visionary Char Vinnedge put together the Luv'd Ones, Dunwich's only all-girl punk group. But the Luv'd Ones were no mere boy toys with instruments; under Vinnedge's direction, she wrote the dark, somber originals, played lead guitar and generally directed the band in the male-infested waters of mid-'60s rock & roll. That their siren song was unheard 'til now (a small batch of singles only) is no reflection on their material or their talents, both in abundance on this excellent 20-track compilation. Largely comprising unissued demos and long lost sessions (their sides as the Tremolons are on a separate Sundazed vinyl EP) and all of it steeped in fuzztoned swirls of sound, this is a pretty amazing little collection of DIY female punk spirit done just right. A missing chapter in rock & roll history.[info:allmusic.com]

Warning: Bitrate 160, except for 3 songs in 128...sorry... I searched and I searched and I searched...

Friday, January 26, 2007

01 You're A better Man Than I02 Saturday's Son03 Feathered Fish04 Baby Show The World05 Tomorrow's Gonna Be Another Day06 Take My Hand

Review:Six of their rare songs, probably dubbed from the vinyl of the original singles. "Baby Show the World" is first-class psychedelic raunch; "Take My Hand" is a poppy number with nice harmonies that sounds kind of like a raw, garage-psychedelic Monkees; and "Saturday's Son," their best track, is a taut, Love-ish rocker with both harmonies and hard-driving guitars. Things get even more Love-ish, naturally, on their cover of the Arthur Lee-penned "Feathered Fish," which guitarist Randy Holden would also record with his next band, the Other Half. This seven-inch EP reissue is hard to find these days, but is definitely worth picking up if you're into rare psychedelia or garage music, as they were one of the best California bands that didn't last or succeed for one reason or another. ~by Richie Unterberger

Biography:Releasing a few obscure singles in the mid-'60s, this Los Angeles psychedelic band is primarily remembered for just two things. Their guitarist, Randy Holden, went on to Blue Cheer, and they recorded an Arthur Lee composition, "Feathered Fish," which Love never released in their own version. The slim evidence that survives on record suggests they were a good band, though, striking a midpoint between garage pop and California freakouts, and employing distortion and feedback when those traits were still innovative. Their material has been very hard to come by, although an EP reissue appeared in 1980s; someone should reissue their singles on CD, or pad them out with any available unreleased tapes to make an album compilation. ~by Richie Unterberger

I'll admit that I have a few obsessions--one of them is Michael Nesmith and the other is obscure 1960s pop. Sot it kinda goes without saying that this issue of the never-released, Nesmith-produced album by L.A.'s band-that-never-was, Penny Arkade, was meant for me. Perhaps only for me, but I know there are at least a few folks out there who share some of these same sensibilities. According to Nesmith, "the Penny Arkade was quintessentially the L.A. sound&of the time." Compare Arkade tracks such as the head swimming "Thesis" or the remarkably hooky "Country Girl" to Sweetheart-era Byrds or Buffalo Springfield (or the late, Canyon-tripping revivalists of recent years, Beechwood Sparks) and one can't help but wonder how our sense of the late '60s L.A. sound might have been affected had this album seen an official release in its own time. Recorded in 1967 during Nesmith's breaks between Monkees' obligations, a few tracks (such as "Swim," the psych-pop title cut epic "Not the Freeze," or the aptly titled "Year of the Monkey") certainly display inspiration--direct or otherwise--from the collection's producer. In fact, one of Penny Arkade's primary songwriters, the now Ã¼ber-reclusive (and as of the album's pressing, unfindable) Craig Smith, penned "Salesman," the opening cut sung by Nesmith for the Monkees' 1967 release, Pisces, Aquarius, Capricorn & Jones, Ltd. A garage-rock groover like "Give Our Love (To All the People)," though a tad repetitive, is full of energy and could easily be a staple of oldies radio today, as could "Sick and Tired." This is not to say that this "album," assembled from various sessions doesn't have a few weak tracks or suffer from a lack of cohesiveness (musical, thematic, or what have you), but nevertheless it is a wonderful treat for fans of overlooked 1960s pop music. -EDWARD BURCH

1. Jackdaw2. You're Not Smiling3. I Had A Dream4. Raviole5. Nancy6. Eye To Eye7. I Put A Spell On You8. The House On The Hill9. Indian Summer

The House on the Hill is Audience's strongest effort, made up of simple, elegantly arranged songs, focusing around Howard Werth's "electric classical" guitar and Keith Gemmel's tenor sax and clarinet. "Jackdaw" has Werth showing off his vocal range by hollering out the chorus in full force. "Raviole" is an instrumental piece painted with lovely acoustic guitar and is one of the real gems on the album. There's not a lot of meat on each of the songs, but the use of flute and vibraphone give this album a unique feel and is deemed interesting mainly for that purpose. The overall atmosphere is quite comfortable, and the hypnotizing effect aroused from the woodwind instruments creates an absorbing mood one might not expect to find here. Snippets of jazz fusion make up the title track, overlapped with some rich saxophone playing. After a few listens, this band slowly rises from being heard to being enjoyable.

45:1 I Wrapped Her In Ribbons/Hermit And The Knight (Deram DM 306) 1970

Galliard set out as an extremely eclectic band on Strange Pleasure. They juxtapose a woodwind/horn section slyly with rural compositions, creating a pastoral, even medieval atmosphere, starkly contrasting to nervously urban passages, although they borrow from Art Nova's Wrapped Her In Ribbons and give the credits to Geoff Brown. An interesting effort. New Dawn is even more schizophrenic. Hosts of wind parts over a tight rocking backdrop are estranged with naggingly dissonant sitar on the highlight Ask For Nothing, a strongly philosophical number. If you can stand some horns, these are worthwhile albums to own. The single has a non-album B-side.

They also feature on the Nova Sampler playing Skillet. I Wrapped Her In Ribbons has been compiled on See For Miles' Progressive Pop Inside The Seventies (CD).(Marcel Koopman / Vernon Joynson)

One of the masterpieces of Psychedelic soul- funk - rock.It contains one of the best guitar's solo ever made!

According to legend, George Clinton, out of his mind on Orange Sunshine, told Eddie Hazelto play the first half of the song like his mother had just died, and then the second half as if he had found out she was alive. The result was the 10-minute guitar solo for which Hazel is most fondly remembered by many music critics and fans. Though several other musicians began the track playing, Clinton soon realized the power of Hazel's solo and faded them out so that the focus would be on Hazel's guitar. The entire track was recorded in one take.In March 2005, Q magazine placed "Maggot Brain" at number 71 in its list of the 100 Greatest Guitar Tracks, which I personal think is not fair as it should be at least at top 20!

Line upLead Guitar: Eddie HazelRhythm Guitar: Tawl RossKeyboards: Bernie WorrellBass: Billy NelsonDrums: Tiki FulwoodVocals: Parliament, Gary Shider, Bernie Worrell, Tawl RossWhat can I say, everyone should own this album. "Maggot Brain" may be Eddie's finest moment ever. The lyrics are particulary poignant and clever, especially "Can You Get To That" and "You And Your Folks...". Bernie really becomes a dominant force on this album, with his organ adding texture to the acid/R&B guitar stew. Did I mention the beautiful singing? No Funkadelic album would be complete without a freakout song, and "Wars of Armageddon" fits the bill here. It sounds like they pulled out a sound effects album and got funky with it. "Maggot Brain" was written when George asked Eddie to think of the saddest thing he could, to imagine his mother dying. George faded out the rest of the band when Eddie played this, because they weren't playing as well as Eddie, and the result was excellent. The album is Funkadelic at its best in that it's impossible to predict. It starts with a psychedelic solo guitar piece, moves on to a gospel-inflected soul-stirrer, continues with a hard-rock organ-driven tune, swings toward a politically charged soul-gospel piece, soars with one of the first heavy metal tunes in history, moves back into the political realm with a touch of taste and a horn influence, and concludes with a freakout as bizarre as anything ever recorded. This kind of heavy eclecticism would be seen on several of the next Funkadelic albums, but this one is my favorite."Maggot Brain" is the greatest instrumental the band ever recorded, owing everything to the genius of Eddie Hazel, who makes listening to the piece an exhausting, terryifying and exhilarating experience. "Can You Get To That", yet another rewrite of a Parliaments song, starts off with acoustic guitars, giving more of an emphasis to Bernie and his organ, with some of the best singing and lyrics on the album. "Hit It & Quit It" is a Worrell showpiece, featuring his vocals and dominated by that heavy organ sound. Hazel's solo at the end is excellent. "You And Your Folks..." is a sequel of sorts to "I Got A Thing...", with impassioned lyrics about the poor and the irresistable 'yeah, yeah, yeah' chant. "Super Stupid" is a high-powered Hazel metal tune, with a still-tasteful if over-the-edge swooping solo. "Back In Our Minds" settles the whole angry stew down, with Environmedian J.W. Jackson playing jew's harp. He would open for Funkadelic on many occasions, doing a stand-up routine. Just when everything has settled down, they finish it with the utterly bizarre "Wars of...", a song that has a great Hazel jam, a ton of sound effects, commentary on urban society, lyrics that include 'more power to the peter, more power to the pussy, more pussy to the peter', and much, much more. Buy this album now if you don't own it!

NB: (2) Credited to Velvet Opera. (1) reissued on CD (Repertoire REP 4495-WP) with their six non-album 45 cuts. Also of interest is The Very Best Of (See For Miles SEECD 437) compilation, which compiles tracks from both albums, alongside single tracks and four previously unreleased songs. Fans may also be interested in a mini-LP Elmer Gantry's Velvet Opera (Apothecary SORCERY 001), which contains a 1968 BBC Saturday Club session alongside an acetate version of Flames.

This Coventry band are best remembered for hard rock single, Flames, a cut from their first album which narrowly missed the charts in 1967. The track was also featured on The Rock Machine Turns You On compilation LP. Featuring Richard Hudson and John Ford of The Strawbs and Hudson-Ford fame the album was full of variety spanning Motown, pop-psych and harder rock genres. Other tracks which catch the ear include the laid back Oscar Brown song I Was Cool, the instrumental Walter Sly Meets Bill Bailey, the Eastern-influenced sitar-based Air, the Beatlesque What's The Point Of Leaving, the melodic Long Nights Of Summer and two tracks - Dream Starts and Reactions Of A Young Man - which veered towards psychedelia.For the later single, Volcano, they shortened their name to Velvet Opera and also recorded a second album under that name. Although a popular underground band, commercial success eluded them. Ford and Hudson joined The Strawbs when The Velvet Opera disintegrated. In the seventies Elmer Gantry was in Stretch.

The Very Best Of Elmer Gantry's Velvet Opera (See For Miles SEECD 437) 1995 includes the 'best' of their first album alongside material from Ride A Hustler's Dream, their more progressive second effort recorded under the name Velvet Opera and four previously unissued cuts of which Talk To The Devil is a superb slice of freakbeat from an obscure movie of this name. This stands alongside Flames, their best known cut, as their finest moment on a CD which includes covers of Statesboro Blues and Eleanor Rigby.

Artefacts From The Psychedelic Dungeon CD also features two cuts from a session the band did on John Peel's 'Top Gear' around 1968: their best known number, Flames, and a version of Hendrix's All Along The Watchtower. Other compilation appearances have included:- Air on Electric Psychedelic Sitar Headswirlers, Vol. 2 (CD); Mother Writes, All Along The Watchtower and Mary Jane on Hard Up Heroes, Vol. 2 (CD).

Incredible album. A masterpiece I think. Try it. Anyone that could offer “Song of the weeping willow” is always welcome! The original has 8 songs and here “song of the weeping willow” is missing.Recommended!!